Playfulness is supposed to be one of the hallmarks of
The Magic Flute, and few productions of Mozart’s beloved opera have been quite as playful
as the one that opened last night at the Southern Theatre.

After all, it’s not every opera in which a gang of villains, magically charmed, suddenly begins
to jump rope.

The show is another production of Canadian troupe Opera Atelier in an arrangement with Opera
Columbus and it features members of the Columbus Symphony in the pit and the Opera Columbus
Chorus.

It’s a partnership that works well — everyone performs admirably.

The immensely likable cast scampers around, through and above a cleverly designed set that seems
to combine some of the best elements of Monty Python animation and pop-up books.

The frothy story follows handsome Prince Tamino (Colin Ainsworth) as he attempts to rescue
Pamina (Laura Albino), the daughter of the Queen of the Night (Ambur Braid), from the clutches of
the sorcerer Sarastro (Joao Fernandes). The prince is assisted by a magic flute and by bumbling
bird-catcher Papageno (Olivier LaQuerre).

The love story involves a spiritual journey through what everyone now knows to be Masonic rites,
a point that this production embraces, festooning the stage with all-seeing eyes and other symbols
of the organization.

The young lovers are attractive to look at and to hear. Albino has a wonderful soprano voice,
and Ainsworth’s tenor is clear and warm.

The Queen of the Night’s familiar aria in the second act — a challenging piece that can shred
the voice of the unwary — is given a skillful turn by Braid. Fernandes brings a dignity and grace
to Sarastro as well as the almost frighteningly low tones of a true bass.

As Papageno, lanky, limber LaQuerre is a Disney cartoon come to life, Goofy with feathers.

Directed with verve by Marshall Pynkoski, the show is so audience-friendly that, even though the
libretto has been translated into English, it still has supertitles projected above the stage.
Rather than seeming like a patronizing touch, it is instead emblematic of the painstaking attention
being paid to the audience throughout the three-hour show.